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I'm fractured three Joining me now at
the basic studio here in Second Life is

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Australian artist Lynette Walworth
she uses a lot of technology in

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a very humanizing way so it was

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a natural impulse to get her
into Second Life and chat

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a little bit about real versus virtual
But first Lynette if you could further

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define your own work in

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a little bit more detail I do interactive
immersive installations so interested in

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creating

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a spice that brings us very close intimate
into the wood you know maybe there's

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a trigger There's an eye out trigger

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a tree is but all of those mechanisms are
hidden and actually all you experience is

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the work responding to you what fascinated
me the one where the visitor touches

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another person that is a projection on on

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a screen evolution of feel isness I
filmed eleven women and all but to

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a political refugees and so there have
come from Afghanistan an era tray in Iraq

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Salvador and even though the touch may not
be real the touch still impacts on us

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and that's why I'm interested in this space
that you've been showing me in Second

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Life I was just going to say because that
is what is missing in Second Life that

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you cannot touch anything right now we
have real glasses of wine that I want to

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disclose to the audience were drinking and
later when I pieced this together for

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Second Life maybe I'll put some animated
glasses in our hands but our avatars are

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not touching that what's your reaction
to say oh that's missing that sense is

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missing but the only way I think you can
achieve it is if you're touching something

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in real time so what I would be interested
in doing for example is if we watch this

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back and we are drinking wine as we're
watching our avatars drink wine you need to

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create the connection for the brain I think
it's an ode story of some little doll

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that is

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a representation of you that carries essence
of life innit. It's somehow connected

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and yet it clearly isn't them you know I
happen to come from a country where it's

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a very specific thing that you need to in
many circumstances ask Can I take this

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photograph if I go to an indigenous
community in Australia I can bring out my

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camera and take an image I need
to negotiate the transfer of an

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image which is in

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a sense virtual going to pass on to my
digital camera your family let me tell you

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what your themes are your empathy you
are reading your films are empathy but

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they're also the added told
to victimhood it's being

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a power through the tragedy it's not to
be the straw it by it's really celebrates

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the human spirit to me it is about those
things and I see people coming approach

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the story what I see happens it appears
to me is that there is some sort of

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transference occurring which again comes
back to why certain cultures won't let you

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take their image because they
also believe that there is

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a transfer and so it has to be willfully
given as a gift and not taken I have seen

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a young boy one of the women
approached in the doorway it's

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a video of this woman she was
an Afghani woman she had

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a sure lawn and she's an elderly woman and
he was wearing this kind of beautiful

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very cool hat he put his hand there she
approached him and he instinctively took

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his other hand and grabbed his hat and took
off his hat in response to meeting this

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video woman so that's very similar to
the virtual exam the instinct to be

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respectful and remove
the had in response to

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a person that doesn't really exist this
is exactly the same phenomenon that I

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instinctively take off my shoes when I go
on the virtual mosque Yes because I know

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it's customary Yes You know I come from

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a country that the powerful message of his
strength is the colonizing country that

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arrived could not read the culture and
thought it didn't exist because it couldn't

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interpret it. And did not spend the time
to try and learn it and just rough ride

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over the top of it and if you create

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a world where you say this is so foreign
like no I'm no one else is being here you

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know or this didn't exist or that many years
ago then you know that culture is new

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and maybe what you do is step
carefully and perhaps it's

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a really great listen and that's
what we can really learn and used up

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a little bit more carefully yet that was
Lynette Wallwork in Second Life she goes

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by the name of rosin Mr Walker I'm
director Dupree Thanks for tuning in.

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To our.